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DISSERTATION a Pirate´S Life for Me

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DISSERTATION a Pirate´S Life for Me DISSERTATION A Pirate´s Life for Me Darstellungen von Freiheit und Unabhängigkeit im Piratenfilm im gesellschaftlichen Kontext der 30er bis 50er Jahre Verfasserin Mag.ª Irene Zavarsky angestrebter akademischer Grad Doktorin der Philosophie (Dr. phil.) Wien, Studienkennzahl laut Studienbuchblatt: A 092 300 Dissertationsgebiet laut Studienbuchblatt: Politikwissenschaft Betreuer/Gutachterin: DDr. Wolfgang Dietrich / Dr. Eva Kreisky Yo ho, yo ho, a pirate's life for me. We pillage, we plunder, we rifle, and loot, Drink up, me 'earties, yo ho. We kidnap and ravage and don't give a hoot, Drink up me 'earties, yo ho. Yo ho, yo ho, a pirate's life for me. We extort, we pilfer, we filch, and sack, Drink up, me 'earties, yo ho. Maraud and embezzle, and even high-jack, Drink up, me 'earties, yo ho. Yo ho, yo ho, a pirate's life for me. We kindle and char, inflame and ignite, Drink up, me 'earties, yo ho. We burn up the city, we're really a fright, Drink up, me 'earties, yo ho. We're rascals, scoundrels, villans, and knaves, Drink up, me 'earties, yo ho. We're devils and black sheep, really bad eggs, Drink up, me 'earties, yo ho. Yo ho, yo ho, a pirate's life for me. We're beggars and blighters, ne'er-do-well cads, Drink up, me 'earties, yo ho. Aye, but we're loved by our mommies and dads, Drink up, me 'earties, yo ho. (Theme Song from the Disneyworld “Pirates of the Caribbean” Ride) 2 Inhaltsverzeichnis Vorwort...............................................................................................................................................7 Einleitung .........................................................................................................................................11 Perspektive .............................................................................................................................11 Politikwissenschaftliche Relevanz ..........................................................................................12 Erkenntnisinteresse ................................................................................................................16 Begriffsklärungen....................................................................................................................19 1. Theorie & Methode ......................................................................................................................24 1.1. Film als Quelle politikwissenschaftlicher Untersuchungen...................................................24 1.2. Systematische Filmanalyse..................................................................................................29 Der Film als Produkt ...............................................................................................................29 Analyseebenen.......................................................................................................................32 1.3. Methodisches Vorgehen.......................................................................................................34 Forschungsablauf ...................................................................................................................35 1.4. Interpretation/Tiefenhermeneutik..........................................................................................38 Lesarten der Interpretation .....................................................................................................39 Psychoanalytische Interpretationen: Der Film als Traum .......................................................44 Psychoanalyse und Feminismus ............................................................................................48 S/M Symbolik..........................................................................................................................49 Der Film – ein Live-Event .......................................................................................................52 2. Hollywood: politische, ökonomische und historische Hintergründe .............................................53 2.1 Bewegte Bilder – die Anfänge ...............................................................................................55 2.2 The Golden Age of Hollywood – das Studiosystem ..............................................................57 Columbia.................................................................................................................................58 Fox..........................................................................................................................................59 MGM .......................................................................................................................................60 Paramount ..............................................................................................................................60 RKO ........................................................................................................................................61 United Artists...........................................................................................................................62 Universal.................................................................................................................................63 3 Warner Bros............................................................................................................................63 Disney.....................................................................................................................................64 2.3 Das „Neue Hollywood“ ..........................................................................................................65 3. Der Piratenfilm – ein Genre für sich?...........................................................................................70 3.1 Abenteuerfilm ........................................................................................................................70 3.2 Piratenfilm .............................................................................................................................71 4. Freiheit und Unabhängigkeit im Piratenfilm .................................................................................76 State of the Art........................................................................................................................77 4.1 Vor dem Zweiten Weltkrieg: Freiheit und Reichtum! .............................................................81 4.1.1 Captain Blood (1935) .........................................................................................................81 a) Plot-Outline + Produktionsdaten.........................................................................................81 b) Historische Einbettung .......................................................................................................87 c) Analyseelemente ................................................................................................................93 Held: Peter Blood ...................................................................................................................93 Heldin: Arabella Bishop ..........................................................................................................95 Widersacher: Colonel Bishop, Captain Levasseur .................................................................98 Heimat/Nation (Schiff):..........................................................................................................101 Liebe/Erotik (das schöne Kleid):...........................................................................................104 Macht/Gewalt (Peitsche) ......................................................................................................106 4.1.2 Bedeutung des Films für den Produktionszeitraum .........................................................109 Zusammenfassung ............................................................................................................... 117 4.2. Während des Zweiten Weltkriegs: Die Pflicht ruft! ............................................................. 119 4.2.1 The Sea Hawk (1940) ...................................................................................................... 119 a) Plot-Outline + Produktionsdaten....................................................................................... 119 b) Historische Einbettung .....................................................................................................124 c) Analyseelemente ..............................................................................................................131 Held: Geoffrey Thorpe ..........................................................................................................131 Heldin: Dona Maria Alvarez de Cordoba ..............................................................................134 Widersacher: König Philipp von Spanien und der spanientreue Minister Lord Wolfingham...........................................................................................................................136 4 Heimat/Nation (Schiff)...........................................................................................................137 Liebe/Erotik (schönes Kleid).................................................................................................140 Macht/Gewalt (Peitsche).......................................................................................................142 4.2.2 Bedeutung des Films für
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